Close
From the scholarship I received from the National Fund for the Arts, I carried out a project in which I proposed to account for the landscape as a shaper of our view and idiosyncrasy and as an element that frames and defines us.
A landscape of my own consisted of developing two lines of accessories called City and Portraits, combining the manual and personal with the industrial and serial, on two axes in which I work as a designer and as an artist.
Portrait collection: portraits in the form of a necklace from the material that the client gives me, and that he considers to make up his landscape, in the broadest sense of the term.
City collection: the landscape of the city where I grew up and where I live today.
I set out to work on a collection that would talk about my relationship with the city of Buenos Aires, about some points that are and were significant in my life, for various reasons. Starting from images of the architecture and urban planning of the city, I drew and made collages with intervened photos of those four corners. The necklaces are reversible.
Thus, with intervened photos of four points of the city that were and still are significant in my life, this series of reversible necklaces that tell stories emerged.
The zoo: Exotic architecture and inside, the overflow of caged wild animal skins.
The Malba museum: After years as an art history student counting on blurry black and white photocopies as the only material, Latin American art is present live and in full color. The color of the flowered avenue, Lapachos, Jacarandás and Floralis Genérica.
The corner of Suipacha and Arroyo: The intangible and the violence of beliefs. Embassy of Israel Square, Bencich Palace, Mater Admirabilis.
The Belgrano Canyons: The garden of my childhood, a ravine in the pampas.
The series of portrait necklaces were made from photos, previously edited, images, texts that gave an account of the personal landscape of each client. Laser cut on fibrofacil or paper, the necklace was the result of my interpretation and intervention of the material received.
Of the four clients I had, the response was very diverse and disparate. I received many things from Flor, a video of an ancient ritual, a tribute to her mother, filming of reflections made with a cell phone to very dissimilar objects such as CDs, fabrics that shine, a roll of old film, a costume bullfighter, etc. From Cecilia I received cards of Scandinavian designs, a tea set from her childhood that arrived intact after 56 years, and an x-ray of her spine, which unlike porcelain, was broken twice. From F. I only received a text and from I. absolutely nothing, only the desire to be photographed.
The definition of camalote, Eichhornia crassipes produced an echo in what characterized my life and that of my family during the seventeen years we lived as nomads. Equipped with mobile and permeable roots, like camalotes, we adopted new lines of horizons, until our return and re-adaptation to the country. It seemed to me that the idea of transfer, of organisms originating from a site adaptable to other environments, that crawls, hooks, appropriates and leaves with its transfer spoke of my nomadic identity.
Living always immersed in the same “landscape” is not the same as moving around adopting other horizon lines. From there arose my attempt to decipher my identity, to talk about origin and nomadism.
I started working with a series of self-portrait necklaces, which are meant to frame me, doesn't a necklace do exactly that? And returning to the landscape as a constitutive element of our gaze, I made a series of reversible necklaces that show the landscape of my last destination.
On one side, using the encaustic technique, I talked about baroque architecture and on the other side, with a collage of photographs from a Roman calendar, I cited the source of the tritone.
An object, a kind of reliquary, territory, contains it.
I am from Buenos Aires.
